Retro Reviews: Thelonious Monk: Underground

   I decided to launch a new series to imagine myself as a critic at the end of the 60s and start of the 70s, and to rectify certain reviews from Rolling Stone magazine and Creem. This not meant to be contrarian, but to offer a more balanced perspective. This is a lesser-known album.

Thelonious Monk – Underground (1968)

****

Producer: Teo Macero

Musicians: Thelonious Monk, Charlie Rouse, Larry Gales, Ben Riley, Jon Hendricks on track 7

Music: Thelonious, Ugly Beauty, Raise Four, Boo Boo’s Birthday, Easy Street, Green Chimney’s, In Walked Bud

Reviewed by Matthew Anthony Allair

    Thelonious Monk has not lost his angular style, or sensibility, he is still the same ubiquitous self he was decades ago. The title and cover are fitting, even if it was done with a dose of humor when you consider the current counterculture. What is also interesting is that Monk never really jumped on the free jazz trend like Ornette Colemen, or Coltrane, he, so to speak, never jumped on that trane. Yet Monk was always an outsider, even in the 40s and 50s. His approach was so unconventional that he has transcended trends. So, the new album feels relevant to the current moment. The common complaint I see from rock and pop fans is that classical and jazz is too complicated, and actually, there's a lot of classical music that is accessible, if you look for it, and in the case of jazz music, there's often very simple melodies to be found, but it is the form around it that is sophisticated harmonically, this album into the accessible range.    

    The opening number “Thelonious” has a simple phrase where the roots support the melody. Ben Riley is very free in his drumming from the outset. This is pretty much the trio from the outset, but it showcases that Monk’s touch has not changed. “Ugly Beauty” is a lovely little number, but there’s a point where the piano and horn slightly pitched when they play in unison, but perhaps that is my imagination. Gales takes a bass solo that’s a little free form. The album has its share of slightly imperfect moments. “Raise Four” has more of his unconventional approach as much as it is a swing blues, Gales sort of anchors it while Monk plays single lines. “Boo Boo’s Birthday” has an almost childlike quality to the statement, and Rouse is in fine form on the number. There almost seems to be a musical nod to “It Had To Be You” as the number evolves.

    The second half opener, “Easy Street” is given the standard Monk ballad treatment, there’s some good rhythmic support as the band lays back for Gales bowed solo. “Green Chimney’s” is another odd blues number where Rouse is more present. Rouse may not be at the same level as to when Monk worked with Coltrane all those years ago, but Rouse is a good foil for Monk’s piano at times. Of course, “In Walked Bud” has become a classic, and singer Hendrick’s quickly introduces the number, his vocal scat work adds extra life as Monk dances around him with his accents, Monks solo takes its time to build, You can feel an audible joy between the players and Hendrick’s, Gales and Riley take turns with the solos. The album closes out with a positive vibe, overall a very good follow up the last years Straight, No Chaser album. He is still managing to put out good work under the Columbia label, let’s see where he goes next. Recommended.